As is almost always the case, especially after having six couples for the last two weeks, when I plan six-couple dances, and I prepared three of them, I only get five and a half couples. One more person, please, just one more...
Tonight's dances were:
Hana Strathspey (32 S 3) Alex Gray
The Sea Caves (32 R 5) Green - Southern Stars
The Glenora Ferry (40 J 3) Terry Glasspool
Ythanside (32 S 3) John Drewry
A Winter's Walk (32 J 3) Pam Stephens
The Black Craig of Dee (32 R 3) Hugh Foss
**********
Hana Strathspey - I have the Tokyo 25th Anniversary CD with the music for this dance and the dance directions are in the liner notes. The music doesn't do it for me (what ever 'it' is), but the dancers liked it. The dance itself is a very basic dance - not a bad thing because there are basic dances and then there are boring basic dances which, according to the mob, this one isn't.
The dance is by Alex Grey, present chairman of the Royal Scottish Country Dance Society, who taught it at the New York Branch's Pawling Weekend this past May. It introduces his figure "The Helix" which is sweet.
I give it a 72 - but I am a tough grader.
The Sea Caves - By Jeff Green, whom I have never heard of before, but I hope to hear more of him in the future, 'cause this is a fun dance. It is from his Southern Stars Book.
What I find neat is the rather different progression - in a 5C set the usual is: 1s and 3s start together and after one round of the dance 1C is in 3rd place and 3C is at the bottom. So, starting at the top, each couple dances twice-and-to-the-bottom, just like all the 8x32 3C dances we have been doing since our first day of dancing.
Here 1C dance it once and end at the bottom while 3C end in top place and repeats from there. Different.
And for the active dancers in the reel of four - 8 bars is just enough time to dance half way round the set and I do mean just.
If I don't sound enthusiastic enough it is because I have been up since 5:30 this AM and I don't do mornings well at all. The dance made it onto my A list. OK?
The Glenora Ferry - by Terry Glasspool - by TERRY GLASSPOOL - ANOTHER good Terry Glasspool dance. Have you got it yet? Do I need to say more? Great dance. The circulating Allemande, where 1C (in 2nd place) start out and up while 2C 3C start out and down, is a thing of beauty.
Ythanside - a pastorale - another dance of surpassing beauty. Kudos to Leslie Kearney for introducing me to this dance. I had read it over but not recognized it for what it is. The high point is the last figure (circles) and the key to the circles is the last 4 bars of the previous figure:
Lines of 3 set a second time, then while 1C cast to own sides the 2 corner men, and the 2 corner ladies, turn BH half round in 2 bars. SLOWLY! and merge smoothly into the circles of three on the sides, then the circles of three must begin to speed up and merge into the circle of 6 which needs to keep accelerating to get everyone far enough round to make to own sides. Sweet! The previous 20 bars of dance is just a set-up for these last 12 bars.
Not only is it on my A list, it is in fact on my Top 50 Strathspey list, and is actually one of my top 10 strathspeys of all time. (And the music makes the dance so do use the right music).
A Winter's Walk - by Pam Stephens from Between the Rivers. I like what Pam is doing. This is a fun dance and definitely on my A list of Top 50 Jigs. And Between the Rivers is one of my two favourite dance books - the other being Dunsmuir Dances from the Dunsmuir class in the San Francisco area. These books have more winners than any other 5 books of dances I have seen.
The Black Craig of Dee - One of my favourites. Love that music. Like the dance.
Dance by Hugh Foss, music by Peter White. One of the top items on my "in-my-lifetime" wish list: that the Peter White/Hugh Foss albums be remastered and issued on CD.
The Foss dances are good, if not great, and certainly of historical importance, while the music Peter White wrote/arranged and plays approaches the sublime because theirs was a collaboration and the fit of music and dance is near perfect.
Showing posts with label Hugh Foss. Show all posts
Showing posts with label Hugh Foss. Show all posts
Wednesday, July 28, 2010
Thursday, February 4, 2010
Westchester Class - 3 February 2010
Another good night in Westchester but the cries of "please teach ball dances" are beginning. Fie, I say unto you, fie.
Why? Because most of the New Haven Ball program is Society and straight forward. Not one crooked dance there. The only rare birds are: The Talcott Mountain Strathspey; The Glenalmond Gameskeeper; The Valentine; She's Ower young to Marry Yet; and The Bonny Heather.
The Glenalmond Gameskeeper has been on one of Westchester's own balls recently so that dance shouldn't be an issue, and She's Ower Young is early RSCDS (Bk 14) and should not be grounds for a Pepto-Bismol moment. The Valentine is new. It was published just this past year by RSCDS but newness is the only issue. That leaves The Talcott Mountain Strathspey and The Bonny Heather - both simple and both with just one unusual (not hard) move.
The following dances from the New Haven Ball and Brunch programs were taught tonight: Joie de Vivre, The Black Leather Jig, The River Cree and Over the Water to Charly. I will not be making a practice of this.
It is the Kilts and Ghillies Ball Program that has the more exotic(?) program. There are two (2) crooked dances: Maurice and Rakes of Auld Reekie. Maybe The Duchess Tree too, but only because it has not been done much these last few years; but not Back to Back which, though warped, is a repeat from the '07 ball as is Holden My Own. Glen Falloch is an unknown but it is not crooked. Rakes of Auld Reekie I taught last week and will again, and Maurice will be taught thoroughly over the next few weeks. Dinna frash yourselves.
Now, back to tonight's dances:
Joie de Vivre (32 J 3) 39/2
Rovin' Robin (32 R 2) SDA #4
Mrs Fitchet (32 S 2) H. Foss - Angus Fitchet Album
The Black Leather Jig (32 R 3) Delaware Valley Silver
Over the Water to Charly (32 J 3) 34/5
The River Cree (32 J 2) 8/5
Dance #39 (32 S 3 set) RSCDS pre-Bk 46
**********
Joie de Vivre - hardest thing about this dance is keeping all the pieces in order. It was tonight's warm up and the two beginners had little or no problem with it.
Rovin' Robin – I apologize for the music. I switched at the last moment much to my regret. The best music for this dance has a real happy go lucky feel. What I used slowly sank into seriousness. Even more fun when mishaps happen and you lose your partner.
Mrs Fitchet – A very simple little dance that is growing on me. But simple means you need to be impeccable or you miss the magic moments. (See my earlier posts of 11 and 12 January).
The Black Leather Jig – I am always amazed when I teach this dance - I expect trouble with the timing of the reels but 1C always seems to figure it out on the fly and I never have to intervene. And I just love the Set to Corner-Turn Partner variation on Hello-Goodbye setting - when it is done right.
Over the Water to Charly – I am becoming a convert to the Edinbugh rules for Set To and Turn Corners. Sorry Headquarters. But with all the aging bodies the quality and energy of the pas de basque has diminished to such an extent that skip change for the two hand turn is making a whole lot of sense. And dancers who can pas de basque correctly, in rhythm, giving proper weight, are rare now; and too corners who dance in to meet the 1s and help them into position.
But I also know this: There is nothing better in this world than a pas de basque turn with a partner of equal ability: when you are both completely in sync the step becomes effortless and you fly. And when you both know how to create a turn… Love Potion No. 9, move over, I don't need you any more.
The absolute essential = a proper 3 beat pas de basque. If you don't have this - you got nothin'. The magic will not happen. And I cannot tell you how much fun you are missing. There just aren't words enough. You will understand when, if, you experience it.
I bear some responsibility for this state of affairs - I haven't been teaching this to dancers. And I have lots of reasons why. Bottom line though - it is part of my job and I haven't. And the world is a less joyous place.
The River Cree – A simple, mindless jig. Just one thing of which you must beware - Advance and Retire is skip change ALL the way - yes Virginia, backwards too! So… what is it you're doing?
Dance No. 39 – Book 46 test dance. And I thank you for your tolerance Westchester. I really messed up with that there Espagnole, I shouldn't have done it in the social half. But still and all a nice dance and a keeper in my opinion.
Why? Because most of the New Haven Ball program is Society and straight forward. Not one crooked dance there. The only rare birds are: The Talcott Mountain Strathspey; The Glenalmond Gameskeeper; The Valentine; She's Ower young to Marry Yet; and The Bonny Heather.
The Glenalmond Gameskeeper has been on one of Westchester's own balls recently so that dance shouldn't be an issue, and She's Ower Young is early RSCDS (Bk 14) and should not be grounds for a Pepto-Bismol moment. The Valentine is new. It was published just this past year by RSCDS but newness is the only issue. That leaves The Talcott Mountain Strathspey and The Bonny Heather - both simple and both with just one unusual (not hard) move.
The following dances from the New Haven Ball and Brunch programs were taught tonight: Joie de Vivre, The Black Leather Jig, The River Cree and Over the Water to Charly. I will not be making a practice of this.
It is the Kilts and Ghillies Ball Program that has the more exotic(?) program. There are two (2) crooked dances: Maurice and Rakes of Auld Reekie. Maybe The Duchess Tree too, but only because it has not been done much these last few years; but not Back to Back which, though warped, is a repeat from the '07 ball as is Holden My Own. Glen Falloch is an unknown but it is not crooked. Rakes of Auld Reekie I taught last week and will again, and Maurice will be taught thoroughly over the next few weeks. Dinna frash yourselves.
Now, back to tonight's dances:
Joie de Vivre (32 J 3) 39/2
Rovin' Robin (32 R 2) SDA #4
Mrs Fitchet (32 S 2) H. Foss - Angus Fitchet Album
The Black Leather Jig (32 R 3) Delaware Valley Silver
Over the Water to Charly (32 J 3) 34/5
The River Cree (32 J 2) 8/5
Dance #39 (32 S 3 set) RSCDS pre-Bk 46
**********
Joie de Vivre - hardest thing about this dance is keeping all the pieces in order. It was tonight's warm up and the two beginners had little or no problem with it.
Rovin' Robin – I apologize for the music. I switched at the last moment much to my regret. The best music for this dance has a real happy go lucky feel. What I used slowly sank into seriousness. Even more fun when mishaps happen and you lose your partner.
Mrs Fitchet – A very simple little dance that is growing on me. But simple means you need to be impeccable or you miss the magic moments. (See my earlier posts of 11 and 12 January).
The Black Leather Jig – I am always amazed when I teach this dance - I expect trouble with the timing of the reels but 1C always seems to figure it out on the fly and I never have to intervene. And I just love the Set to Corner-Turn Partner variation on Hello-Goodbye setting - when it is done right.
Over the Water to Charly – I am becoming a convert to the Edinbugh rules for Set To and Turn Corners. Sorry Headquarters. But with all the aging bodies the quality and energy of the pas de basque has diminished to such an extent that skip change for the two hand turn is making a whole lot of sense. And dancers who can pas de basque correctly, in rhythm, giving proper weight, are rare now; and too corners who dance in to meet the 1s and help them into position.
But I also know this: There is nothing better in this world than a pas de basque turn with a partner of equal ability: when you are both completely in sync the step becomes effortless and you fly. And when you both know how to create a turn… Love Potion No. 9, move over, I don't need you any more.
The absolute essential = a proper 3 beat pas de basque. If you don't have this - you got nothin'. The magic will not happen. And I cannot tell you how much fun you are missing. There just aren't words enough. You will understand when, if, you experience it.
I bear some responsibility for this state of affairs - I haven't been teaching this to dancers. And I have lots of reasons why. Bottom line though - it is part of my job and I haven't. And the world is a less joyous place.
The River Cree – A simple, mindless jig. Just one thing of which you must beware - Advance and Retire is skip change ALL the way - yes Virginia, backwards too! So… what is it you're doing?
Dance No. 39 – Book 46 test dance. And I thank you for your tolerance Westchester. I really messed up with that there Espagnole, I shouldn't have done it in the social half. But still and all a nice dance and a keeper in my opinion.
Thursday, January 28, 2010
Westchester Class - 27 January 2010
Hello Westchester, I'm back! And very happy to be back I yam I yam.
A different situation this year than last. Several dancers have graduated up from the training class but they clearly have a lot still to learn. I'm not sure they realize just how much more there is to learn so I am going to have to dial back my usual programming practices. I can't scare them out of their wits but I can't let the other dancers get lazy either, so… take a deep breath ladies, I am not going back to basics and you are going to be dropped into the deep end. Hang on to this thought - its OK to make mistakes and to ask questions; that is part of the learning process. Perfection is for tomorrow so I don't mind if you're not perfect today. Just keep smiling and have fun no matter what. It is supposed to be fun you know.
Westchester, starting an intermediate class sounds like a very good idea.
Tonight's dances were:
Moles Frolic (32 J 3) Dunsmuir Dances (T. Winter)
The Caithness Heart (32 R 2) J. Attwood - L2
Rakes of Auld Reekie (32 S 2) B. Priddey - Golden Oriole
My Ain Hoose (32 J 2) H. Foss - Glendarroch #5
Wedding in Saint Monans (32 J 3) Mary S. Brandon
Monymusk (32 S 3) 11/2
***********
Mole's Frolic – Simple, but not simple minded. One of the sweetest dances I have seen in a long time, and that's why it will open this year's Kilts and Ghillies Ball. Tom Winter is writing really good dances these days, and the Dunsmuir book is a tour de force - a superb collection of dances.
The Caithness Heart - a simple dance with a to-die-for reel of four. What a sweet entrance into the reel.
Rakes of Auld Reekie – Definitely not simple minded, or very simple. The two progressive promenade reels of three can be unsettling because they are not danced to the standard phrasing. You have to be comfortable 'bending' the timing and not everyone is. Without a clean end to the reels that final progression is nearly impossible. But when that last figure is nailed – oh the joy of it all! Another dance where the rewards for getting it right far out weigh the considerable effort needed to get there. Which is why it too will be done at this year's Kilts and Ghillies ball.
My Ain Hoose – A simple dance but wonderfully fulfilling when danced well. The reward comes when you and your partner find the perfect kinesthetic balance when transitioning into the half fig. eight from the turn. You know those moments, at least I hope you do, when everything is 'on', your balance, the weight being given by your partner, the change of direction is seamless, the dance effortless, and suddenly you are on a high; and when it is over all you can say is 'yes!'
An unfortunate fact of life - those moments happen most rarely in simple dances. Simple dances require the highest level of technique; slip up there and the energy slips away and with it the exhilaration.
Wedding in Saint Monans – A Mary Shoolbraid Brandon dance. Most dances have a moment or movement that makes or breaks the dance. In St. Monans that moment is the transition from the Cross Over (RH) into the Set (advancing). If you cross all the way to the sidelines and set cleanly moving forward - the energy builds. Get lazy and end the cross in the middle and set there - the dance fizzles. Mary Brandon rewards good, crisp, precise, technically correct dancing.
Monymusk – I wouldn't say I loathed this dance, that would be an exaggeration, but I certainly didn't like it; at least not until I experienced the dance to the right music. And that music was the house band for the Scottish Weekend at Buffalo Gap. Liz Donaldson, Marty Taylor, Ralph Gordon and the other usual suspects that included Steve Hickman, Earl Gaddis and Alasdair Fraser on fiddles. I was there, boy am I ever glad I was there that year. I have loved the dance ever since but it still requires exceptional music and, thank God, I have that. Blessed is the unknown person who taped the band. Blessed too is the person who sent me a copy of their copy. I bow to thee and to thee.
A different situation this year than last. Several dancers have graduated up from the training class but they clearly have a lot still to learn. I'm not sure they realize just how much more there is to learn so I am going to have to dial back my usual programming practices. I can't scare them out of their wits but I can't let the other dancers get lazy either, so… take a deep breath ladies, I am not going back to basics and you are going to be dropped into the deep end. Hang on to this thought - its OK to make mistakes and to ask questions; that is part of the learning process. Perfection is for tomorrow so I don't mind if you're not perfect today. Just keep smiling and have fun no matter what. It is supposed to be fun you know.
Westchester, starting an intermediate class sounds like a very good idea.
Tonight's dances were:
Moles Frolic (32 J 3) Dunsmuir Dances (T. Winter)
The Caithness Heart (32 R 2) J. Attwood - L2
Rakes of Auld Reekie (32 S 2) B. Priddey - Golden Oriole
My Ain Hoose (32 J 2) H. Foss - Glendarroch #5
Wedding in Saint Monans (32 J 3) Mary S. Brandon
Monymusk (32 S 3) 11/2
***********
Mole's Frolic – Simple, but not simple minded. One of the sweetest dances I have seen in a long time, and that's why it will open this year's Kilts and Ghillies Ball. Tom Winter is writing really good dances these days, and the Dunsmuir book is a tour de force - a superb collection of dances.
The Caithness Heart - a simple dance with a to-die-for reel of four. What a sweet entrance into the reel.
Rakes of Auld Reekie – Definitely not simple minded, or very simple. The two progressive promenade reels of three can be unsettling because they are not danced to the standard phrasing. You have to be comfortable 'bending' the timing and not everyone is. Without a clean end to the reels that final progression is nearly impossible. But when that last figure is nailed – oh the joy of it all! Another dance where the rewards for getting it right far out weigh the considerable effort needed to get there. Which is why it too will be done at this year's Kilts and Ghillies ball.
My Ain Hoose – A simple dance but wonderfully fulfilling when danced well. The reward comes when you and your partner find the perfect kinesthetic balance when transitioning into the half fig. eight from the turn. You know those moments, at least I hope you do, when everything is 'on', your balance, the weight being given by your partner, the change of direction is seamless, the dance effortless, and suddenly you are on a high; and when it is over all you can say is 'yes!'
An unfortunate fact of life - those moments happen most rarely in simple dances. Simple dances require the highest level of technique; slip up there and the energy slips away and with it the exhilaration.
Wedding in Saint Monans – A Mary Shoolbraid Brandon dance. Most dances have a moment or movement that makes or breaks the dance. In St. Monans that moment is the transition from the Cross Over (RH) into the Set (advancing). If you cross all the way to the sidelines and set cleanly moving forward - the energy builds. Get lazy and end the cross in the middle and set there - the dance fizzles. Mary Brandon rewards good, crisp, precise, technically correct dancing.
Monymusk – I wouldn't say I loathed this dance, that would be an exaggeration, but I certainly didn't like it; at least not until I experienced the dance to the right music. And that music was the house band for the Scottish Weekend at Buffalo Gap. Liz Donaldson, Marty Taylor, Ralph Gordon and the other usual suspects that included Steve Hickman, Earl Gaddis and Alasdair Fraser on fiddles. I was there, boy am I ever glad I was there that year. I have loved the dance ever since but it still requires exceptional music and, thank God, I have that. Blessed is the unknown person who taped the band. Blessed too is the person who sent me a copy of their copy. I bow to thee and to thee.
Tuesday, January 12, 2010
Kilts and Ghillies Class - 12 January 2010
A full set tonight - what a joy.
This week's dances:
The Back o' Bennachie (32 R 2) J. M. Duthie - 8 Dances
Ca' the Ewes tae the Knowes (32 S 2) 16/8
John of Bon Accord (32 R 3) 33/5 (Roy Goldring)
The Duchess Tree (32 S 3) John Drewry - Brodie Book
Glen Falloch (32 J 3) Jean Attwood - Alexander Dances 2
Mrs. Fitchet (32 S 2) Hugh Foss - Angus Fitchet Album
********
Ca' the Ewes tae the Knowes -
The second figure is the dance. The biggest disapointment is the music. The music chosen is a good traditional strathspey and it fits the dance well. I like the tune, truely. It is a good tune - but it just isn't the song tune. And that song is one of the most heart rendingly beautiful songs I have ever heard. And the Society chose not to use it. I don't get it.
John of Bon Accord -
A very good dance. But every time I teach it the instructions drive me to distraction. I want to say 'to drink', but I'm not much of a drinking man.
"Four progressive half-reels of three across the dance – danced as follows:"
The only clue as to how the reels actually work is buried deep in the text that 'follows'. Why do it that way? Why not say it the way it is and say it up front: four progressive diagonal half reels of three. 1M finishes each reel in 1L's, 2M's, 2L's, and 3M's positions respectively… and so on and so forth. No additional clarifications, amendments or dancing notes needed. Which is as it should be.
I object to the vagueness of the directons for the reels- but the directions for last figure are actually worse because it is the very specificity of the directions that are the issue.
The instructions for bars 25-32 read:
25-28 2nd, 1st and 3rd couples turn partners with right hands
three-quarters round to finish in a line up and down the
dance; facing partners and retaining right hands, all set.
29-32 2nd, 1st and 3rd couples turn partners with right hands
to finish on own sides and then, joining hands on the sides,
set to partners.
The troubling words being "facing partner" because that is exactly what you get. On bars 27-28 you have three couples squarely facing partner. The result: the first three-quarter turn looks pretty good, but the second three-quarter turn is just plain ugly, and I do mean ugly. When they face the dancers lose the shape of the turn and they then spend most of bars 29-30 trying, and usually failing, to regain it. That, in turn, makes them late onto the sidelines where they invariably fail to take hands and set all higgidly piggidly. UGLY!
What I now teach is this: dance the first three-quarter turn but turn your head to face your partner, not your body. This maintains the shape of the turn since you are still facing the correct direction. Now the second turn can be as good looking as the first, the dancers get to the sidelines in time to take hands neatly and the lines looks good. It's simple and it works.
Glen Falloch –
Yet another winner from Jean Attwood that deserves a place in the standard repetoire. Just keep the Rights and Lefts on the compact side.
The Duchess Tree –
An early Drewry dance and a classic.
Mrs. Fitchet –
Discussed at some length in the previous post ;-)
What became clear tonight is that sloppy dancing, for whatever reason, won't cut it in this dance. Correctly timing the fig. 8 is critical to the transition to the half diamond poussette. Miss the first and you will miss the second and you will miss the fun.
This week's dances:
The Back o' Bennachie (32 R 2) J. M. Duthie - 8 Dances
Ca' the Ewes tae the Knowes (32 S 2) 16/8
John of Bon Accord (32 R 3) 33/5 (Roy Goldring)
The Duchess Tree (32 S 3) John Drewry - Brodie Book
Glen Falloch (32 J 3) Jean Attwood - Alexander Dances 2
Mrs. Fitchet (32 S 2) Hugh Foss - Angus Fitchet Album
********
Ca' the Ewes tae the Knowes -
The second figure is the dance. The biggest disapointment is the music. The music chosen is a good traditional strathspey and it fits the dance well. I like the tune, truely. It is a good tune - but it just isn't the song tune. And that song is one of the most heart rendingly beautiful songs I have ever heard. And the Society chose not to use it. I don't get it.
John of Bon Accord -
A very good dance. But every time I teach it the instructions drive me to distraction. I want to say 'to drink', but I'm not much of a drinking man.
"Four progressive half-reels of three across the dance – danced as follows:"
The only clue as to how the reels actually work is buried deep in the text that 'follows'. Why do it that way? Why not say it the way it is and say it up front: four progressive diagonal half reels of three. 1M finishes each reel in 1L's, 2M's, 2L's, and 3M's positions respectively… and so on and so forth. No additional clarifications, amendments or dancing notes needed. Which is as it should be.
I object to the vagueness of the directons for the reels- but the directions for last figure are actually worse because it is the very specificity of the directions that are the issue.
The instructions for bars 25-32 read:
25-28 2nd, 1st and 3rd couples turn partners with right hands
three-quarters round to finish in a line up and down the
dance; facing partners and retaining right hands, all set.
29-32 2nd, 1st and 3rd couples turn partners with right hands
to finish on own sides and then, joining hands on the sides,
set to partners.
The troubling words being "facing partner" because that is exactly what you get. On bars 27-28 you have three couples squarely facing partner. The result: the first three-quarter turn looks pretty good, but the second three-quarter turn is just plain ugly, and I do mean ugly. When they face the dancers lose the shape of the turn and they then spend most of bars 29-30 trying, and usually failing, to regain it. That, in turn, makes them late onto the sidelines where they invariably fail to take hands and set all higgidly piggidly. UGLY!
What I now teach is this: dance the first three-quarter turn but turn your head to face your partner, not your body. This maintains the shape of the turn since you are still facing the correct direction. Now the second turn can be as good looking as the first, the dancers get to the sidelines in time to take hands neatly and the lines looks good. It's simple and it works.
Glen Falloch –
Yet another winner from Jean Attwood that deserves a place in the standard repetoire. Just keep the Rights and Lefts on the compact side.
The Duchess Tree –
An early Drewry dance and a classic.
Mrs. Fitchet –
Discussed at some length in the previous post ;-)
What became clear tonight is that sloppy dancing, for whatever reason, won't cut it in this dance. Correctly timing the fig. 8 is critical to the transition to the half diamond poussette. Miss the first and you will miss the second and you will miss the fun.
Monday, January 11, 2010
Dancing on the Heights (Friends Meeting House)
Happy New Year.
A good class tonight. Six dancers so mostly two couple dances.
But first, many thanks to Susan Leff for the cider and the goodies.
Chocolate and shortbread - yumm!
The program:
Belfast Almanac (32 J 2) Hugh Foss - Glendarroch #24
The Caithness Heart (32 R 2) Jean Attwood - leaflet
Mrs. Fitchet (32 S 2) Hugh Foss - Angus Fitchet SD Album
Lang May Your Lum Reek (32 J 2) Barry Priddey - Scottish Dance Archive #72
Lady Mary Douglas (48 J 3) The Imperial Book Vol. 1
******
Lady Mary Douglas – directly related to Miss Mary Douglas (RSCDS Book 10/11). Same source (Wilson's Companion to the Ball Room, 1816), different interpretation. In my opinion Miss MD has NO redeeming social value. Lady MD on the other hand is a do-able and moderately pleasant dance with this caveat - you must keep the set compact, especially the opening reel. Let the set spread and you're behind, forever!
Belfast Almanac – I love that Hugh Foss stretched the boundaries of the traditional forms and that Miss Milligan considered his ideas "dangerous." I love that this dance is basically a romp consisting of standard figures with several moments of exquisite subtlety should you choose to accept them. The delightfully worded assessment "…simple, but not simple minded" fits.
It has a fugal opening:
1-8 1C set advancing, turn RH; half figure 8 though 2C.
9-16 2C set advancing, turn LH; half fig. 8 through 1C position while 1C set, cast; set, dance up (near hand) to face out in partner's place.
When the couples advanced for both setting steps (bars 1-2 and 9-10) they had difficulty in setting up good turns. But, what if 1C danced the first pas de basque in place and moved forward and to the left on the second pdb; wouldn't that leave them in good position to take RH cleanly for the coming turn? And what if 2C moved forward and to the right on the first pdb, and danced the second one in place; wouldn't that leave them in good position to take LH cleanly for their upcoming turn? Answer: Yes and yes. And the solution is both subtle and asymmetric, and I like that. Observers will experience an itch, they will wonder, but will they see?
Bars 25-26 - A tricky bit this. There is a moving arch and the dancers have to trade places (sides) with partner. I suggest 1 bar for the arch and 1 bar (no hands) for the 'crossing'. The move is a reprise of earlier movements – bars 5-6 for 1C and 13-14 for 2C, and is the set up for the six bar turns that complete the dance. Smooth transition, proper hands and covered turns. When they get it right – Oh my! Be still my heart.
The Caithness Heart – Another winner from Jean Attwood. Simple, and the entry into the reel of 4 is as sweet as can be. How shameful that the only dance of hers that is getting programmed here abouts is The Falls of Rogie.
Mrs Fitchet – The transition into the half diamond poussette - pure genius. The moment - priceless.
Lang May Your Lum Reek – Wow! Put this one on your short list of "Gotta Do" dances. I know several good, popular dances from the Scottish Dance Archives but why this one isn't a part of the standard repertoire is beyond my ken!
It is fun. No… it is more. This dance is exhilarating! The first 16 bars are so ho-hum and then Barry socks it to you; and the final 4 bars is so simple and neat that it damn near gives me goosebumps.
I grant you the third figure is intimidating but take the time to figure it out and you will be re payed ten fold. Trust me. This dance is a keeper.
A good class tonight. Six dancers so mostly two couple dances.
But first, many thanks to Susan Leff for the cider and the goodies.
Chocolate and shortbread - yumm!
The program:
Belfast Almanac (32 J 2) Hugh Foss - Glendarroch #24
The Caithness Heart (32 R 2) Jean Attwood - leaflet
Mrs. Fitchet (32 S 2) Hugh Foss - Angus Fitchet SD Album
Lang May Your Lum Reek (32 J 2) Barry Priddey - Scottish Dance Archive #72
Lady Mary Douglas (48 J 3) The Imperial Book Vol. 1
******
Lady Mary Douglas – directly related to Miss Mary Douglas (RSCDS Book 10/11). Same source (Wilson's Companion to the Ball Room, 1816), different interpretation. In my opinion Miss MD has NO redeeming social value. Lady MD on the other hand is a do-able and moderately pleasant dance with this caveat - you must keep the set compact, especially the opening reel. Let the set spread and you're behind, forever!
Belfast Almanac – I love that Hugh Foss stretched the boundaries of the traditional forms and that Miss Milligan considered his ideas "dangerous." I love that this dance is basically a romp consisting of standard figures with several moments of exquisite subtlety should you choose to accept them. The delightfully worded assessment "…simple, but not simple minded" fits.
It has a fugal opening:
1-8 1C set advancing, turn RH; half figure 8 though 2C.
9-16 2C set advancing, turn LH; half fig. 8 through 1C position while 1C set, cast; set, dance up (near hand) to face out in partner's place.
When the couples advanced for both setting steps (bars 1-2 and 9-10) they had difficulty in setting up good turns. But, what if 1C danced the first pas de basque in place and moved forward and to the left on the second pdb; wouldn't that leave them in good position to take RH cleanly for the coming turn? And what if 2C moved forward and to the right on the first pdb, and danced the second one in place; wouldn't that leave them in good position to take LH cleanly for their upcoming turn? Answer: Yes and yes. And the solution is both subtle and asymmetric, and I like that. Observers will experience an itch, they will wonder, but will they see?
Bars 25-26 - A tricky bit this. There is a moving arch and the dancers have to trade places (sides) with partner. I suggest 1 bar for the arch and 1 bar (no hands) for the 'crossing'. The move is a reprise of earlier movements – bars 5-6 for 1C and 13-14 for 2C, and is the set up for the six bar turns that complete the dance. Smooth transition, proper hands and covered turns. When they get it right – Oh my! Be still my heart.
The Caithness Heart – Another winner from Jean Attwood. Simple, and the entry into the reel of 4 is as sweet as can be. How shameful that the only dance of hers that is getting programmed here abouts is The Falls of Rogie.
Mrs Fitchet – The transition into the half diamond poussette - pure genius. The moment - priceless.
Lang May Your Lum Reek – Wow! Put this one on your short list of "Gotta Do" dances. I know several good, popular dances from the Scottish Dance Archives but why this one isn't a part of the standard repertoire is beyond my ken!
It is fun. No… it is more. This dance is exhilarating! The first 16 bars are so ho-hum and then Barry socks it to you; and the final 4 bars is so simple and neat that it damn near gives me goosebumps.
I grant you the third figure is intimidating but take the time to figure it out and you will be re payed ten fold. Trust me. This dance is a keeper.
Monday, November 2, 2009
Golden Age of Scottish Country Dancing
This in from Anselm Lingnau (originally posted to the strathspey.org list):
*******
Here's a quotation especially for those people who believe that SCD today has become too technical and has stopped being fun/representing »the tradition«:
Hugh Foss said this in his pamphlet »Notes on Evolution in Scottish Country Dancing« (published in 1973). "
Quote:
Some people grumble that the Society has over-emphasised technique (the steps, that is) and made the dances so precious and difficult that they are no longer the joyful romps they always used to be (always, in this instance, meaning, say, 1890-1920). In other words they complain because the Society has changed the second-best dances into best ones. But where else are the best dances today? When you had courtly corantos, you might like to relax in a Playford romp. When you were tired of very decorous waltzes or very difficult highland step-dances you might prefer to do the country dances without pointing your toes. But now there are no courtly (perhaps not even any decorous) dances to relax from. If you want the best dances the Society has them. I hope they won't become second-best for a long time yet.
The Society does not suggest that all dancers must have perfect technique before they can be let loose on a dance. It is quite easy for anyone -- or almost anyone -- to pick up enough about the steps to be able to enjoy the dances at the first class they attend. They don't have to learn the minuet first. (p.26f.)
and
The golden age of Scottish Country Dancing, by the way, is now. (p.26)
*******
Here's a quotation especially for those people who believe that SCD today has become too technical and has stopped being fun/representing »the tradition«:
Hugh Foss said this in his pamphlet »Notes on Evolution in Scottish Country Dancing« (published in 1973). "
Quote:
Some people grumble that the Society has over-emphasised technique (the steps, that is) and made the dances so precious and difficult that they are no longer the joyful romps they always used to be (always, in this instance, meaning, say, 1890-1920). In other words they complain because the Society has changed the second-best dances into best ones. But where else are the best dances today? When you had courtly corantos, you might like to relax in a Playford romp. When you were tired of very decorous waltzes or very difficult highland step-dances you might prefer to do the country dances without pointing your toes. But now there are no courtly (perhaps not even any decorous) dances to relax from. If you want the best dances the Society has them. I hope they won't become second-best for a long time yet.
The Society does not suggest that all dancers must have perfect technique before they can be let loose on a dance. It is quite easy for anyone -- or almost anyone -- to pick up enough about the steps to be able to enjoy the dances at the first class they attend. They don't have to learn the minuet first. (p.26f.)
and
The golden age of Scottish Country Dancing, by the way, is now. (p.26)
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